Reviews

Greg Pritikin's DUMMY is an amusing, sometimes clever and oh-so-independent (indie heads will know what I mean) comedy. Adrien Brody gives a pre-OscarWin performance that I honestly think is better than his work in THE PIANIST (though keep in mind I was one of the few people who didn't go gaga over that film). He is delightfully understated, sheepish and reserved as Steven, an ultra-insecure social outcast who buys a dummy in a store and ends up creating him into a wooden psychiatrist who's method surprisingly, though slowly, has a positive effect on Steven. The cast of beyond eccentric goofballs is a riot: Ron Liebman and Jessica Walter are hilarious as Steven's whacked-out-of-their-skull parents (the latter playing a character that clearly plants the seeds for the ubermonstrous Mommy Dearest Lucille Bluth she would inhabit a year later in the remarkable TV show ARRESTED DEVELOPMENT), Vera Farmiga is lovely and charming as Steven's love interest, Jared Harris is memorable as a psychotic wannabe actor who stalks his ex-girlfriends, and the film is all but stolen by the always scene-stealing Illeana Douglas as Steven's sister, who gave up on her dream and hasn't been able to find any sort of happiness or fulfillment since, and a revelatory Milla Jovovich as Steven's best friend, a lovable Gothic loon who's bursts of anger, fits of insanity, and tendency to use "f**k" as a punctuation mark may have been the result of an ultra- repressed childhood at the hands of her sick, tyrannical nightmare of a mother. There really isn't that much of a plot here, and that is one of the film's strong points. Like in so many previous, refreshing independent films that tried to do something different, the strength of it is in the wonderful work by it's character-actors, the way it makes us believe and care for it's offbeat characters, and that magical feeling (usually an indie trademark) that we are watching people whose behavior may seem a little out of the ordinary, but whose emotions couldn't be more ordinary, normal, and HUMAN. B

Oliver Stone's aggressive, in-your-face, timeless bloodsoaked masterpiece NATURAL BORN KILLERS is a film that NEVER gets old! The power it has the first time you see it is exactly the same power you'll feel when you see it for the eight or ninth time. This is one of those movies like REQUIEM FOR A DREAM that is just ridiculously AMAZING! It's hard to believe a filmmaker who's just a regular human being like everyone else could succeed so perfectly and astonishingly in capturing and showing every single message and critique he wanted to put in the forefront. Though it's sharp, audacious, angry, unapologetic, eye-opening satirical attack on the greedy and soulless disgrace that is mainstream media, and the awe-striking way in which it constantly shows in so many different ways why the media is such a lying fear-promoting monster, is what makes it such a MONUMENTALLY important film, it would be brilliant film-making even without it. Stone has always been one of the most energetic, ambitious, and visually creative filmmakers in America, and he uses those skills to the max in this, the standout of his amazing career.

Woody Harrelson and Juliette Lewis couldn't have nailed the psycho persona, and all the different emotional and psychological wreckage that comes with it, more dead-on! But the real acting standout of this film is the wonderful Robert Downey Jr.'s remarkable, raw, unforgiving, explosively hysterical turn as media scumbag Wayne Gale. He may have a Robin Leach-like accent, but don't be fooled: There is no doubt that this is f**king Geraldo Rivera IN EVERY POSSIBLE WAY! I'm surprised Rivera wasn't throwing the same disgraceful, disgusting, and shamefully self-righteous hizzy fit that the pathetic John Grisham threw, since the film captures (with a depressingly small amount of exaggeration) everything that makes Geraldo such reprehensible media vermin.

To all the people who said this film was responsible for inciting violence: Shame on you! Isn't it funny that the vicious and dangerous moral and PC police always targets the best films? Like DOGMA, BOWLING FOR COLUMBINE and REQUIEM FOR A DREAM, this is one of the most socially conscious AND socially valuable films of it's time. And, like REQUIEM, it is a film that puts most film-making to shame and transcends the power of it's medium, thus becoming not just a great film, but a terrific humane achievement. A+

Joel Schumacher's VERONICA GUERIN is definitely his best film since 1993's FALLING DOWN, though that's really not saying much at all since his only film in between that time that I could even tolerate was the mildly entertaining PHONE BOOTH. The amazing Cate Blanchett is predictably terrific as Guerin and her performance alone makes the film worth watching. I have to say I really don't understand why so many people are making a case about what an unlikable person Guerin is in the film (and may have been in real life). It's true that she was careless and sometimes naive, but I'm not convinced her intentions in uncovering the evil drug dealers who were poisoning Ireland so terribly were self-serving. I know many people feel that the movie painted her in that light, but I sure didn't. I really felt this was a woman who just couldn't stomach what was going on (8-year old kids playing with heroine needles, dealers using innocent children to dupe the police, etc.) and was sick and tired of being the only one who had the cojones to do something about it. It's a film that has a sort of disadvantage in how powerful it can be since it begins with the ending, thus we already know the tragic result of Guerin's crusade. Still, Blanchett is always a captivating and fascinating actress, and the actors who play the evil drug lords are utterly despicable, hateful and fearsome, which makes it easier to get caught up in the tense drama as it's happening, even if we already know how it will end. Not a great film, but a solid and IMPORTANT one. After seeing this film, I strongly believe in my heart that for all the lives that may have been saved by her crusade, this woman deserved to have her story told. Was she stubborn and reckless? Yes, and there are a lot less heroine-infected toddlers and prostituted teens in Ireland thanks to her. What a "stupid bitch", huh? B

GHOST WORLD is a remarkable social satire. I've loved this film ever since I first saw it, but the more I see it, the better it gets.

Thora Birch, in the role of a lifetime, is indescribably convincing as the cynical, too-smart- for-her-own-good, devout outsider Enid. The way she totally becomes this character is uncanny. She is also aided at no small part by a remarkable, zinger-filled screenplay by Zwigloff and Daniel Klowes (the latter created the comic book this film is based on). I can't think of many films in recent years that allow as many brilliant, uninhibited, thought- provoking one-liners too come out of their characters mouths with the same consistency in which Enid spews them out. A pre-LOST IN TRANSLATION Scarlett Johannson is also wonderful in the crucial supporting role of Enid's best friend, who may have an easier time than Enid when it comes to swallowing the shallow artificial commercialization of the American life. But the hidden treasure in this gem is that remarkable character actor Steve Buscemi. Buscemi's been playing offbeat, fast-talking, short-tempered, fan-favorite characters for years but, like Bill Murray in LOST IN TRANSLATION and Adam Sandler in PUNCH-DRUNK LOVE, he gives the greatest performance of his career (so far anyway) by concentrating on what was the essence in the roots of all the characters he previously played: A painfully deep social frustration that would eat him alive, where it not for his only barely successful ability of convincing himself the way of the loner is the life for him. His beautifully understated and emotionally captivating portrayal of one-of-a-kind sad-sack Seymour, who admits "I can't relate to 99% percent of humanity", is the stuff a film lover's dreams are made of (and in a more fair and just world, the stuff that GUARANTEES you a f**king Oscar!).

This is one of my favorite films in recent memory. One of the greatest things about it is the versatility of the emotions it evokes. It has moments that are incredibly funny and moments that are painfully sad. There are some scenes that definitely hit close to home. I can't say that I can identify with Enid or Seymour on a regular basis, but there are definitely times in my life were I can feel their pain (probably more in the past than now), and there are many scenes whose effects are enhanced by how real they feel (Enid visiting Seymour because she needs someone to be nice to him, Seymour's frustration that his favorite musician is the opening act in some s**tty bar, Enid realizing that she is actually going to miss the school nerd, etc.).

This is a very special film. A

I've been a die-hard movie lover since the age of 6, but I can't think of many movie-watching experiences that have been as luminous, magical, and impacting as the one I had when I first saw SIN VERGUENZA.

It was November 3rd. To my surprise, I had a wonderful evening. A truly BEAUTIFUL evening that I'll always remember (I'm not one to be indifferent to truly beautiful and joyfilled moments in life). College was off that day, thanks to the Puerto Rican elections the previous day. But my acting teacher had already told all of us on the last class that we would be getting together in her house to watch two films: One we needed to do an exam on, and another just a film she loved that she wanted to share with us. I went there, depressed as hell! Why? It is totally unnecessary for me to share, since you all can easily guess. We met at the house, and discussed both elections (the PR and the American one, respectively). Certainly, the depression was not going to end with this discussion. Though I, and most of my fellow classmates, had reason to be PARTIALLY satisfied with our own election results (very long story, and involves information non-PR's aren't familiar with), the sadness, anger, and devastating disappointment about what had occurred in the American all but clouded that entirely for me.

Next, we saw the video we had to write about. I'd already seen it, but saw it again anyway. The joy, warmth, and feeling of fun that my classmates and our amazing teacher projected started to rub-off on me and I started to feel a lot more chipper thanks to the fun I was having spending time with them. I smoked, I had some snacks, and I watched the video again (taking some additional notes I hadn't taken the first time). Then, the Pizzas our teacher had ordered arrived, and I ate two slices while we still continued to chat and crack jokes.

Then, we put the DVD of the movie my teacher had loved. What was that film? You guessed it: SIN VERGUENZA. And what a f**king film it was! What an EXPERIENCE! I am a very spiritually-in-touch person, and I really do believe the higher powers love to bless you with really unexpected gifts when your heart is sinking in the worst way. This was a film I will never forget and, to add to the blessing, I'm glad I will always remember seeing this awesome film during one of the happiest, most joyful, most healing nights of my life, surrounded by such an amazing group of people. I really could NEVER have imagined such a special thing occurring during this personal Black Wednesday of mine.

SIN VERGÜENZA (NO SHAME) is an Altman-esquire ensemble piece circling around a love story, but what it is REALLY about is acting, especially about an actor's creative process and how their personal emotional turmoil affects their work (for better or worse). Phenomenal acting all-around, this amazing film is filled with unforgettable, awe-strikingly real, short vignettes involving different actors rehearsing and inevitably pouring their own heart through the scene they are trying to create. EACH ONE of these scenes is distinct, extraordinary, unforgettable, and astonishingly realistic. I have been a passionate, devoted, die-hard, one- track filmLOVER all of my life, but this is only the second film that I really feels tells MY STORY. Just as, in terms of personal feelings and hard-to-shake emotional entrapments, I couldn't have identified more with the overall message and reality of PUNCH-DRUNK LOVE, in this case I couldn't have identified and FELT more the experience of being a passionate, personal-problems-filled young actor in his early stages (working hard to improve and master his craft while at the same time trying to leave his problems out of the stage or figuring out a way to have them give energy to the work) that many of the characters in this film face. It was such a cathartic experience watching this film, from beginning to end my heart felt such a shocking connection, that I am still speechless.

Afterwards, we all expressed how much we loved it, thanked our unbelievably terrific teacher from the bottom of our hearts for such a beautiful night (I was probably more thankful than most since she had picked me up so swiftly from this Black Wednesday that had sunk my heart almost underground), and we all left. I got a ride off one of the girls who was going my way.

The power of film to heal, and the power of film to play a part in human beings bonding and sharing, are just two of 577+ reasons I treasure cinema.

A

HOUSE OF SAND AND FOG is one of the most pandering, most predictable, stupidest movies trying to pass off as a "character-driven" drama in many a moon. The ending might as well have had the "PSA" logo, because that's what it seemed to be trying to tell us. "Be kind and think before you act, because the consequences could be...BAD (the more you know, brought to you by NBC!)" The only thing that was missing was the voice-over by a "Will & Grace" cast member.

This is the IN THE BEDROOM of 2003, though, blessedly, it hasn't gotten the bewildering amount of glowing reviews ITB got. And the acting is much better. Praise goes to the actors, because they're superior work is hurt a lot less by the mediocrity of the film than Evan Rachel Wood's full-throttle, no-holds-barred performance in THIRTEEN was by the offensive cynicism and phoniness of that film. The all-mighty goddess of love (e.g. Jennifer "future Mrs. Mackey" Connelly) is wonderful (though only a living angel would look as radiant as her in such a f**ked up emotional state) and does a superb job with the toughest emotional scenes (ps: I would have sacrificed TEN TIMES what Ron Eldard's character does to be her shoulder to cry on...lol). Kingsley's performance was strong, but too one-note for me throughout most of the film. But near the end he just RIPS IT, and is a marvel at handling the emotional crisis the character must face. The dignity and grace with which this great actor tries to handle the ridiculous ending the director forces on his character really makes you feel for him as an actor who was unfairly cheated of the better film his superior performance deserved. As awful as the ending is, his character had my attention. Kingsley and Connelly escape the mess with their superb work unharmed. Shorheh Agdashloo has some strong moments, but I don't think she did anything that merited her Oscar nomination or all the critics awards she's received. Her character isn't given much to do, and isn't well-developed.

Superior acting, but a screenplay that barely has an ounce of knowledge on how human beings deal with crisis and tragedy. C

Augustin Diaz Yates heaven-vs.-earth satire DON'T TEMPT ME is really NOTHING that hasn't been done before, and in better films. An angel from heaven (Victoria Abril) and an angel from hell (some Spanish chick named Penélope Cruz...lol!} fight over the soul of a brutish boxer (Demiån Bichir). The way the plot develops is predictable, as is the ending. But there are laughs around the way, most of them provided by Cruz. I can't begin to comprehend why she's such a dull, tedious, unconvincing actress in American films when she's proved to be such a vibrant, energetic and entertaining actress in Spanish films. And while she's made better films (BELLE EPOQUE, JAMON JAMON, LIVE FLESH, ABRE LOS OJOS and even the American ABRE remake VANILLA SKY), I think this is definitely her best performance yet. Her character is the most interesting and entertaining figure during the entire duration of the film, and one of the reasons she gets the biggest laughs is because the screenwriter gave her most of the best lines. The ridiculously talented and versatile Gael Garcia Bernal is a total hoot as a top CEO in hell who's a mix of Spike from BUFFY THE VAMPIRE SLAYER and Tony Shalhoub's eccentric shyster in THE MAN WHO WASN'T THERE. He's so much fun that the movie is hurt because he's a supporting character who only appears in a few scenes, and so many of the lead characters are so one-note and tiring we keep waiting for him to show up more to liven things up. Anyways, this isn't a very good film, certainly one you may not remember for a long, but the good aspects in it kept me entertained...most of the time. B-

AT CLOSE RANGE is one of the bleakest, coldest, scariest, and most depressing films I have ever seen...it was made even more depressing when I learned at the end that it was based on a true story. A very young but already magnetic Sean Penn is heartbreakingly convincing and predictably terrific in the lead role of a tough but generally good kid with family problems that range from a poor home with his mother and grandmother to having a lowlife, evil-to- the-asshole scumbag for a father. As the father, Christopher Walken, in what may be the greatest performance of his career, gives one of the most despicable, hateful, and frightening in it's believability performances in the history of film. He is the epitome of an evil person who has turned amoral with a lot of practice. I can't remember the last time I hated a character in a film as much as I despised Walken. The remarkable final confrontation scene between him and Penn, after a tragedy has happened, is an example of how limitless the raw power that film can evoke truly is when it is in the hands of amazing character actors who get inside their characters in such an awe-inspiring way that they make you feel like you are watching a documentary. The scene makes you so sad and angry at the same time that it just breaks your f**king heart! It is one of the very best scenes of both actors' stellar careers, and it is a scene that I'm sure will be shown every time either actor receives a Career Achievement Award in their future. Mary-Stuart Masterson, a talented actress who unfortunately seems to have gotten lost in the Bermuda Triangle after FRIED GREEN TOMATOES, is also touching and convincing as Penn's underage girlfriend. After watching GLENGARRY GLEN ROSS and now this, I think James Foley is clearly one of the modern masters when it comes to directing and setting the stage for great acting. It's not an entertaining movie by any stretch of the imagination, but it's a powerful, honest, unmercifully human one that will be hard to forget. B+